by Emily BrontëTranslated by Jordi DoceIllustrated by Elena FerrándizPrologue by Gabriela MistralNórdica LibrosISBN: 979-13-87922-41-2October 2026Una preciosa edición bilingüe ilustrada por Elena Ferrándiz que reivindica la obra poética de Emily Brontë.Los poemas de Emily Jane Brontë, una de las escritoras más relevantes del siglo XIX, son apasionados y poderosos y transmiten la vitalidad del espíritu humano y del mundo natural. Tan solo veintiuno de sus poemas se publicaron en vida. Este volumen, en edición bilingüe, reúne dichos poemas y nueve más que se le atribuyen, con evocadoras ilustraciones de Elena Ferrándiz.Emily Dickinson (1830-1886), amaba los poemas de Emily Brontë y pidió que se leyera «No Coward Soul», incluido en este volumen, en su funeral.
Further information in El Feminista. Illustrations published in Nórdica Editorial's X account.
A stellar cast lets the audience fully absorb the story, and the roles of Young Jane (Meara Gordon), Jane (Lauren Reisig), and Mr. Rochester (Josh Sparks) were especially key in this production. In their period costumes and with their accents, we’re brought into their world, their time, their culture, and their struggles.The set and staging were beautifully done, while the music and sound design allowed for seamless transitions, beautiful montage moments marking the passing of time, and added texture to the storytelling. There are a few large tragedies that arise in the story that are represented in strong and creative ways to ensure audiences feel the impacts of these moments. [...]Even if you’re familiar with the story, you’ll appreciate this adaptation and director Lindsay Laviolette’s shepherding of this production.While times have changed in many respects, the themes of the story are still relevant and resonant today. Grab your tickets and enter Thornfield Hall to uncover the mysteries in store. (Samara Caplan and Laura Gauthier)
Storyhouse Creative Director Suzie Henderson said today: “Excitement is building with just two weeks to go until this thrilling new adaptation of Charlotte Brontë’s much-loved masterpiece opens on the Storyhouse stage as one of the undoubted highlights of our autumn season.“Jane Eyre is a Storyhouse Originals production in partnership with the Mercury Theatre at Colchester and Rose Theatre at Kingston, and it’s been an exhilarating collaboration, creating a very special piece of live theatre which under Lily Dible’s exciting direction is both powerful and utterly compelling.”
When I was at university, I developed a quiet resistance to a particular kind of novel. I found myself increasingly irritated by reading lists populated by women who unravelled. Women in attics. Women in unhappy marriages. Women drifting towards breakdown. Women whose inner worlds became more and more fractured until they could no longer function within the worlds around them.Somewhere among them was Birgit Vanderbeke's The Mussel Feast. [...]Many of the books I resisted at university have stayed with me nonetheless. The Yellow Wallpaper. The Bell Jar. Wide Sargasso Sea. Different books, different women, different circumstances. Yet all return in one way or another to the relationship between power and distress. (Emmelia Georgiou)
Walk into a bookstore today, and you’re likely to see a gothic classic like Shirley Jackson’s The Haunting of Hill House on a display table alongside new gothic novels. On screen, films like Wuthering Heights and Nosferatu remind us of the enduring appeal of gothic romance and horror. And in music, Taylor Swift’s The Tortured Poets Department and Ethel Cain’s Preacher’s Daughter blur the line between bliss and ruin, making love songs feel like psychological landscapes to survive.Why all this darkness lately? I think it’s partly because the genre taps into something emotionally relatable. In a post-pandemic world, so many of us work from home or feel isolated in other ways. We’re tired of being online all the time, and there’s so much uncertainty about what lies ahead. Basically, you don’t have to live in a shadowy castle to feel a little gothic in your head and your heart. Gothic fiction gives voice to our loneliness and dread.On the flip side, gothic stories offer an escape hatch from the ordinariness of our own world. They transport us to richly imagined places that feel deliciously sinister and dramatic. We don’t just read gothic fiction because we’re afraid of the dark. Sometimes we read it because the dark is more interesting.
Wuthering Heights (2011)Emerald Fennell’s recent madcap take on Emily Brontë’s operatic tragedy was fun, but if you’re after a more grounded interpretation, consider Andrea Arnold’s blustery, acutely observed vision of Cathy and Heathcliff’s doomed love. It’s the first adaptation to cast Black actors as the Byronic hero—James Howson and Solomon Glave portray his older and younger selves, respectively, opposite Kaya Scodelario and Shannon Beer as Cathy—and captures the rain-soaked, muddy bleakness and beauty of the Yorkshire moors in a way that chimes with the source material. This is a strange, twisty book which, with its layers of narration and disturbing coda, feels almost impossible to translate to the screen—but this adaptation comes close, at least in echoing its wild, unruly spirit. (Radhika Seth, Michelle Ruiz, Chloe Schama, Kristin Auble, Alexandra Hildreth , and Donya Momenian)
In Brontë footstepsA walk that’s full of history as one that the Brontë sisters would have been familiar with on the wild moors.Start at Stanbury bus terminus and walk uphill on Back Lane.At the first road junction, continue following the road as it changes from a hard surface to a rough track. Just beyond a parking area, the rough track divides. Here, take the right-hand track uphill to the gate and cattle grid at the top of the incline.Go through the gate and on to open moorland to where the track divides into three – follow the right-hand track and continue uphill all the way until you reach the ruin ofTop Withens farm, thought to have inspired Emily Brontë’s Wuthering Heights.At this point, you can head back down to Stanbury or go a little further for some incredible views. Walk to the rear of the building and take the narrow well-defined path leading steeply uphill and slightly to the right, in a north westerly direction. Follow this narrow path across moorland and keep right when you reach a point where another narrower path bears left. You will shortly see the Delf Hill trig point ahead. At the trig point take in amazing views all around, from Boulsworth Hill and Pendle Hill to the left, across the Yorkshire Dales, and beyond.Back in Stanbury, head to traditional village local, Wuthering Heights Inn.The pub also has a campsite with spectacular views.Top WithensDistance: Around two milesStart/finish: Stanbury bus terminus, Hob Hill, at the western end of Stanbury Main StreetDifficulty: Suitable for most reasonably fit occasional walkersParking: Limited parking near the bus terminus, but there is an informal parking area 300 yards up Back Lane, where the walk route passes. Parking is also available in Haworth village, around 1.7 miles awayPub: Wuthering Heights Inn, StanburySee the full walk: With longer route options, at visitbradford.com
Cartier’s Devonshire black opal tiara and necklace, which is expected to fetch up to £998,000. This item’s last public appearance was at the London premiere of the film Wuthering Heights, when Emerald Fennell, the film’s director, wore it on the red carpet.
Fiato Ai Libri: Cime Tempestose
Voce narrante: Marika Pensa
Chitarra e sequencer: Omar Nedjari
Auditorium "Iginio Ferrini", Via Cortivo, 30, 24067 Sarnico BG, Italy
Fri Oct 30th 9:00pm
The event offers a theatrical reading based on Emily Brontë’s classic, set on the English moors at the house of Wuthering Heights. The story follows Catherine and Heathcliff, exploring the dynamics of a family history marked by intense passions, social tensions, and bonds that struggle to withstand resentment and injustice.The event includes an introductory talk by Stefania Consonni, Associate Professor of Literary Criticism and Comparative Literature in the Department of Foreign Languages, Literatures and Cultures at the University of Bergamo.Nella brughiera inglese si staglia Wuthering Heights, una casa isolata e battuta dai venti. Attorno a essa, una notte d’autunno, si aggira un fantasma in cerca di redenzione. È Catherine che, obbediente alla preghiera di Heathcliff «perseguitami, non lasciarmi solo in questo abisso dove non posso trovarti», torna, ancora una volta, da lui. Così inizia il racconto di una storia familiare, in cui l’amore, nonostante le sue espressioni più viscerali, cerca di sopravvivere alle ossessioni, al rancore e alla maledizion
dell’ingiustizia sociale.
Fri 30 Oct, 6:00pmBrontë event Space in the Old School RoomAs part of our 10 year anniversary celebrations of Sally Wainwright’s Brontë biopic To Walk Invisible, we're welcoming production designer Grant Montgomery to share his memories of transforming Main Street back to the 1840s, recreating Church Street on Penistone Hill and the Parsonage interiors on a soundstage in Manchester.Grant Montgomery is an award-winning production designer from Scotland. He is best known for establishing the world of Peaky Blinders for which he was nominated twice for BAFTA awards. His most recent work is the Scott Frank show, Dept. Q, a global No. 1 TV show on Netflix. Montgomery’s love of research, storytelling and history has led him to lecture in universities in Ireland and across the UK, delivering seminars on period production design to postgraduate students at York University.
'Jane Eyre' (1847)I think Jane Eyre was my first "oh wow!" read as a kid, and what I remember most is not Rochester, Thornfield, or even the woman in the attic. I remember Jane. Charlotte Brontë gives a poor, plain, orphaned girl the kind of interior authority nineteenth-century literature was not exactly handing out freely, and Jane uses every bit of it. When Rochester tries to contain her, she answers, "I am no bird; and no net ensnares me; I am a free human being with an independent will." The sentence itself refuses containment: one declaration pushes into its next iteration until Jane has talked herself all the way from metaphor to a plain statement of freedom.That's why Brontë's prose feels so immediate nearly two centuries later. Jane turns a conversation into an existential crisis because the real drama is whether she will betray herself to get something she desperately wants, and Brontë lets us consider every bit of the argument. Jane also talks directly to the reader, collapsing the distance between the girl experiencing the story and the woman who survived long enough to tell it, giving the novel an intimacy that feels startlingly modern. Even when the novel gets wildly Gothic, the prose keeps returning us to one stubborn consciousness asking what she owes herself. Love is important, but so is dignity, and Jane does not simply want Rochester; she wants him without having to disappear inside him. (Linda Chavers)
Elizabeth Hand spins a well-plotted Gothic tale with echoes of “Wuthering Heights” and Daphne du Maurier’s classic novels in her moody historical “Unspeakable Things.” (Oline H. Cogdill)
learned [...] a lot of Paul Gordon, who’s written musicals like Jane Eyre and Daddy Long Legs. His piano parts sit strangely well in my hands.
by Juan Antonio MuñozDirected by Claudio PuellerWith Begoña Basauri, María Jesús Marcone y Nathalia AragoneseOctober 30 - November 29Centro Cultural Las Cumbres, Teatro Municipal de Las Condes, Av. Apoquindo 6570, 7560784 Las Condes, Región Metropolitana, ChileCharlotte, Emily y Anne Brontë, tres autoras fundamentales de la literatura universal, llegan al escenario con Las hermanas del viento, obra que se estrenará el próximo 30 de octubre en el Centro Cultural Las Condes. El montaje cuenta con las actuaciones de Begoña Basauri (Charlotte), María Jesús Marcone (Anne) y Nathalia Aragonese (Emily), bajo la dirección de Claudio Pueller.Esta coproducción de la Corporación Cultural de Las Condes se adentra en la intimidad de la familia Brontë y en el proceso creativo de las tres hermanas, quienes, en la Inglaterra del siglo XIX, debieron enfrentar las convenciones de una sociedad que cuestionaba la creación literaria femenina. Bajo los seudónimos de Currer, Ellis y Acton Bell, buscaron abrirse camino en el mundo de las letras mientras lidiaban con pérdidas familiares, deseos de libertad y sus propios conflictos personales y artísticos.“Para la Corporación es fundamental ofrecer una programación diversa, que convoque a distintos públicos y abra nuevas miradas a través de las artes. Esta coproducción nos permite acercar al público a tres autoras esenciales, cuyas historias siguen vigentes y nos invitan a reflexionar sobre la creación artística y los espacios que las mujeres han conquistado a lo largo del tiempo”, señala Martín Vial, director ejecutivo de la Corporación Cultural de Las Condes.Una mirada escénica al universo BrontëLejos de reconstruir una época o contar una biografía, la obra explora la dimensión íntima y creativa de las protagonistas a través de una puesta en escena simbólica y minimalista. El viento de los páramos se convierte en un elemento dramático recurrente, asociado al anhelo de libertad, mientras la iluminación, el espacio y el universo sonoro dan forma a los conflictos y emociones de las hermanas.“Las hermanas Brontë me interesan no sólo por lo que escribieron, sino por lo que tuvieron que atravesar para hacerlo. Sus vidas estuvieron marcadas por la pérdida, el aislamiento y las convenciones de una sociedad que imponía límites muy estrechos a las mujeres. Sin embargo, no quiero convertirlas en emblemas ni hacer de ellas un ejemplo de resistencia. Me interesa su singularidad, sus contradicciones, sus distintas maneras de enfrentarse al mundo”, explica el autor, Juan Antonio Muñoz.La obra también indaga en la relación entre la vida y la ficción, y en la escritura como una experiencia que compromete profundamente a quien crea: “ese instante en que crear deja de ser un acto voluntario y se vuelve una experiencia física, casi una posesión; cuando escribir significa exponerse, desgarrarse, sobrevivir a algo que no se puede dominar por completo”, agrega el dramaturgo.Para el director Claudio Pueller, el montaje pone el foco en la intensidad de las vidas y los mundos interiores de las protagonistas. “Charlotte, Emily y Anne habitan la escena como presencias atrapadas entre la realidad y la ficción, entre la casa familiar y los mundos que inventan para sobrevivir”. Así, la rectoría de Haworth se transforma en una arquitectura mental que parece estrecharse a medida que las voces de las hermanas intentan expandirse.El montaje cuenta con diseño integral de Monserrat Catalá, creación sonora de Jorge Martínez Flores y propuesta lumínica de Ángel Solovera.
Further information in Culturizarte (Chile).
The synopsis is: On a present-day American ranch, Cathy and Heathcliff, the orphan her father raised as his own, share a love that borders on obsession—until their father dies and her vengeful brother Hindley returns to tear them apart.It stars Jean Evans, Ethan Vaughan, Gabriel Quintella, Maia Sky, and Dante Ayala.Vaughan plays the role of Heathcliff Earnshaw in “Wuthering Heights.” [...]On starring in “Wuthering Heights,” he stated, “That was also such an honor! I had so much material to pull from. These are legendary characters, a legendary story, and a legendary original author.”“It was a lot of fun to shoot,” he noted. “What I liked most about my character is that he has contradictions, and he was a very confused person. Honestly, that was very fun to play.” [...]“I play Bella in ‘Wuthering Heights.’ I loved how she was so sweet and she was so selfless. Did so many things for other people and put herself behind them,” she said. [...]When asked if she drew any inspiration from the Margot Robbie and Jacob Elorbi movie, she responded, “No, because I was told that we were doing a slightly different version. It was very different. I wanted to create something that was unique and my own.” (Markos Papadatos)
There are other amateurs, especially in novels from the century before. Jane Eyre paints watercolors and tells Mr. Rochester that she derives happiness from doing so.
3. ‘Jane Eyre’ by Charlotte BrontëJane begins life with little money, few allies and an upbringing that teaches her how easily people in power can mistreat those without it. After working as a governess at Thornfield Hall, she falls in love with its brooding owner, Edward Rochester. But when Jane discovers a secret that threatens the future he has offered her, she faces a choice between the man she loves and the principles she refuses to abandon.Charlotte Brontë’s 1847 novel is a Gothic romance, but its emotional force comes from Jane’s insistence on her own worth. She wants love, companionship and a life beyond mere survival. What she does not want is to surrender her moral independence to secure them. Her refusal to accept a relationship on unequal terms remains one of the novel’s most powerful moments.Jane’s story also explores the vulnerability of women who have little financial or social protection. Her options are constrained by class and gender, yet she insists on being treated as a person with desires and convictions of her own. In contemporary conversations about boundaries, financial independence and unequal relationships, Jane’s determination to be loved without being diminished still resonates. (Sasha Mariposa)
1. Wuthering Heights (1847), by Emily BrontëEmily Brontë’s Gothic masterpiece is remembered for its tempestuous lovers, windswept moors, and tragic family drama. However, when creating her novel, Emily Brontë chose to open with a violent and terrifying ghostly encounter. In the opening of the novel, Lockwood (the narrator) spends the night in a forbidden bedroom after being caught in a storm. While there, he reads the name “Catherine” alongside “Earnshaw,” “Heathcliff,” and “Linton,” all carved into the wooden window frame.As he sleeps, he is awoken by a knocking on the window pane and, thinking it is a branch, reaches out to break it. The reader is then startled to read that Linton’s wrist is grasped by the ice-cold fingers of Cathy’s ghost. Her specter cries that she has been “a waif for twenty years.” The story inspired countless other works of fiction, including the song Wuthering Heights by Kate Bush. (Lauren Jones)
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Choreographed by Cathy MarstonDirected by Chanmin ChungWritten by Cathy Marston and Patrick KinmonthMusic by Fanny Mendelssohn Hensel, Felix Mendelssohn-Bartholdy, Franz Schubert, Philip FeeneyWith Emma Riis-Kofoed, Silvia Selvini, Ryan Tomash, Sebastian Pico Haynes, Katherine Stevens, Penelope Phelan, Carling Talcott-Steenstra, Eukene Sagues, Caroline Baldwin, Ji Min Hong, Alexander Bozinoff, Jón Axel Fransson, Andreas Kaas, Jonathan Chmelensky, Mathieu Rouaux, Isabella Walsh, Stephanie Chen Gundorph.Det Kongelige Teater og Kapel, Refshalevej 173A, 1432 København, DenmarkOld StageOctober 30 - November 11, 20.00h /12.00h (October 31)Poster foto: Klaus VedfeltProfound love, painful jealousy and dark secrets. Master choreographer Cathy Marston breathes new life into one of literature’s greatest novels.After a troubled childhood in the care of a harsh foster family, the young orphan Jane Eyre resolves to shape her own destiny. Seeking independence, she trains as a teacher and accepts a position as governess at Thornfield Hall. There, her encounter with the enigmatic master of the house, Edward Rochester, proves fateful. Though seemingly ill matched, the two fall deeply in love. Yet Jane soon discovers that Rochester harbours a hidden sorrow – a secret powerful enough to threaten their happiness.Charlotte Brontë, the author of Jane Eyre and the eldest of the three renowned Brontë sisters, caused a sensation when her Gothic novel was published in 1847. Its brooding atmosphere and supernatural undercurrents captivated Victorian readers. Equally striking was its heroine: intelligent, resolute and quietly rebellious – a new and compelling portrait of a woman’s longing and inner struggle.In recent years, English choreographer Cathy Marston has established herself as one of ballet’s most compelling narrative voices. In Jane Eyre, she unfolds the heroine’s eventful life in a work that is at once an intimate and emotionally charged chamber drama and a sweeping, full-scale narrative ballet.
So, the novel asks a more interesting question. Can a person love deeply without losing herself? Jane’s answer is yes, but only on certain terms. She leaves when staying would cost her moral independence. She returns only when things have changed. Here her inheritance matters. Independence is not just a matter of courage. Money changes her position. Once she is financially secure, going back to Rochester is a choice and not a necessity. Rochester, for his part, has lost much of his earlier power. Jane’s financial independence and Rochester’s changed circumstances alter the balance of their relationship, bringing them closer to equality.This is also why the novel can be read beyond the question of female independence. Love, in Brontë’s telling, is something Jane chooses and not something she surrenders to. A young woman can ask what independence means in a relationship. A young man can ask what equality demands of him. Rochester is charming and emotionally gripping, but he is also used to having his way. He withholds the truth from Jane and tries to set the terms of their life together. The novel does make him face those limits, and it offers a useful distinction between love and possession.Still, there is a reason not to treat this as a simple feminist text. What happens to Bertha Mason? We hear Jane’s voice throughout the book. Bertha hardly has one. Rochester’s first wife is locked in the attic and described mostly through the language of madness and monstrosity. Later writers have asked what the story looks like from her side. Jean Rhys’s Wide Sargasso Sea is the best-known example. It brings race, colonialism, and gender into questions that Jane Eyre does not fully examine.I will admit that for years, I did not push this question hard enough in my own classes. I spoke about Bertha, but mostly as a plot device or a symbol. It was easier to stay with Jane. That, I think, is the real lesson of my reaction to the Chinese decision. Familiarity can make us lazy. We teach a classic through the same categories each time, such as feminism, patriarchy, romance and Victorian society, and we stop looking for what is new. The text remains the same, but our reading of it need not.A classic should not enter a classroom carrying one approved meaning. Students should be free to admire Jane and also to question her. They should understand Rochester without excusing him. They should ask why Bertha is denied the space Jane gets. And they should connect the book to their own experience of family, school, work and relationships. In that sense, teaching a classic is not simply about passing on an established interpretation. It is also about teaching students how to read critically.This is important because many young people encounter ideas about love through films, social media and stories they read online. These tend to offer quick answers. Literature can offer something slower. It lets a reader stay with a complicated human situation and look at it from more than one side. That, to my mind, is the book’s real value for a young reader today. It does not hand over the right model of love or independence. It refuses to separate the two questions. Jane wants to be free, and she also wants to love. She wants equality without giving up closeness. The novel does not settle that tension. It makes it part of growing up.Nearly two centuries later, that tension still feels familiar. Perhaps that is why readers in China, India and elsewhere keep returning to Jane. And perhaps this is why a decision made in Beijing is worth a second look for teachers in Indian classrooms. My first answer was “So what?” I no longer think that was the right one. (John J Kennedy)
Do all directors understand lighting? “Not to name any names,” she grins, “but some are very visual, and some aren’t.” She prefers “somebody with nerves of steel who is prepared to try stuff” – like Sally Cookson, with whom she devised hit shows such as Jane Eyre and A Monster Calls. “Devised work is nerve-racking,” says Malone, “because you don’t know what you’ve got till the last week of rehearsals. You have to figure it out once you’re in the space.” (David Jays)
In 1986, he wrote the music for Peter Coe’s production of Jane Eyre, with Keith Michell and Jenny Seagrove, at Chichester Festival Theatre. (Nick Smurthwaite)
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Written by Erin Shields, based on the novel by Charlotte BrontëOctober 28 – November 14, 2026Wednesdays to Saturdays at 7:30 p.m.Matinee: Sundays at 2:30 p.m.Ottawa Little Theatre, 400 King Edward Ave, Ottawa, ON K1N 7M7, CanadaDirected by Lindsay LavioletteWith Lauren Reisig, Josh Sparks, Meara Gordon, Jorge Corichi Herrejón, Aili McNamara-Kilian, Sierra Sparks, Erin Hetherington, Jennifer Rowberry, Victoria Windrem, Thomas Jestin, Sharon Bernbaum, Laasya Kandula, Susanna Doherty, Sheila Burpee Duncan, Michael Clarke, Geneviève Audet, Megan Hepburn, Christina Roman, Gabrielle Dumonceaux.Charlotte Brontë’s haunting novel comes to the stage in a new adaptation by one of Canada’s most exciting playwrights. Erin Shields brings a sharp, witty, feminist perspective to this timeless story of an accomplished, outspoken young woman overcoming the odds to rise to her potential and claim love on her own terms.
Jane EyreJane Eyre begins on a dreary November day—“There was no possibility of taking a walk that day...”—setting the tone for the gothic novel. Autumn remains a key backdrop throughout the novel, including when she travels to Thronfield [sic] Hall for the first time (her first morning there was “a fine autumn morning”). It’s a definitive autumn classic. (Any Brontë novel, honestly, makes great fall reading.) (Emily Burack)
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The famous Brontë sisters’ links to Co Down are to be brought to life in the former church near Rathfriland where their clergyman father preached as a young man.Although the local council took over the Drumballyroney Church building in the 90s and turned it into the Brontë Interpretive Centre, financial constraints meant it opened infrequently, leaving fans of the literary family, who travelled to the church, often disappointed to find the doors locked.However, that is about to change thanks to a local heritage group. (Anne Harper)
We are a group of volunteers working to restore the Brontë Interpretative Centre as a vibrant community hub. We are planning a year- round programme of events and activities that celebrate the unique heritage of Rathfriland and the Iveagh Region.
The next event they're organizing is
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Halloween @ Drumballyroney Old Church
31st October, 8pm
Drumballyroney Old Church and graveyard dates back to at least the C12th. It sits atop the Hill of the O'Rooneys (bards and poets to the the Magennis Lords of Iveagh) But the bards were much more than storytellers! They were 'seers' who brought the Otherworld to life through their art, oration, and ceremony. This is a legacy which continued at Drumballyroney following the arrival of Christianity.
So what stories still linger here in this quiet, threshold place?
Join us at Drumballyroney Old Church for an evening of seasonal stories and tales of the Otherworld. You will:
Learn about the ancient origins of our Halloween traditions, and ways to protect yourself when the veil is thin!
Try your hand at some long-forgotten seasonal pass-times.
Hear tales old (& new!) of fairies, Banshees, and other supernatural beings.
Learn about of Rathfriland's famous 'Hell Fire' Club, and the story of the real 'Squire Hawkins' (was there just one?).
Sample the 'Devil's Buttermilk' - made to a recipe preserved by the very same storytellers who preserved the tales of the Hell Fire Club and it's patrons.
Learn about the role of the bard/druid/storyteller in ancient times and how they engaged with the Otherworld.
Explore the atmospheric Old Church, and hear about the ancestors buried here including the Brontë family and the Magennis Lords of Iveagh.
It will be a real night to remember!
Haworth has become synonymous with literary history, thanks to the Brontë sisters who produced several famous novels such as Jane Eyre and Wuthering Heights, who called it home. The village is currently decorated for autumn – and tourists who want to experience the best of it are running out of time. Anyone planning to make the most of limited time in Haworth this autumn is advised to begin at Main Street where there are a range of independent cafes, old fashioned sweet shops and other boutique stores. (...)The Brontë Parsonage Museum is one of Haworth's most popular tourist attractions. (...)Beyond the shops is beautiful surrounding countryside accessible on foot from the village. A particularly good spot to head for is the Brontë waterfall. (Alycia McNamara)
The Lancashire Telegraph helps to pronounce Keighley correctly and also talks about the city:
One of the most memorable moments from my senior semester of college was seeing Emerald Fennel’s “Wuthering Heights.” I watched it on Valentine’s Day at Silverspot Cinema with my sister and six of her friends, and I liked it way more than I should have.Ever since I was little, I remember hearing, “The book is always better than the movie.” Up until I saw “Wuthering Heights,” I used to believe it too.When I read Emily Brontë’s “Wuthering Heights” my sophomore summer, I remember feeling underwhelmed. In my Apple Books review, I gave it three stars; I had hoped that book would shake my soul, and it did not. That was really sad for me, given how much I had enjoyed her sisters’ works — Charlotte Brontë’s “Jane Eyre” and Anne Brontë’s “The Tenant of Wildfell Hall.”The week after watching the newest adaptation of Wuthering Heights was really stressful for me. It pained me to admit to all my friends that I had enjoyed the 2026 film more than the 19th century tome. I mean, I really loved it. I was sobbing so hard that people were turning around and pointing. I wasn’t the only one — a couple other girls in my row were similarly shaken. I won’t name names, but you know who you are. (Anna Garziera)
7. The Professor Began As A Sketch For Something Greater (...)6. Shirley Is An Industrial Novel That Got Lost Between Two Greater Ones (...)5. Villette Is The Most Revolutionary Novel Charlotte Brontë Ever Wrote (...)4. Agnes Grey Invented A New Kind Of Heroine (...)3. The Tenant of Wildfell Hall Dared To End A Marriage And Defends The Decision (...)2. Jane Eyre Is A Revolutionary Exploration Of Agency (...)1. Wuthering Heights Contains Multitudes That No Other Victorian Novel Attempted (Fawzia Khan)
02. The Tenant of Wildfell Hall by Anne BrontëEven more shocking than her sister’s work, Jane Eyre, Anne Brontë cemented herself in literary history with this novel about a single mother’s surprising independence among Victorian society. You’ll love this book’s equally moody setting in a mansion that seems to take a life of its own if you’re already a fan of Austen’s Northanger Abbey. And with quite an unusual main character and subject matter for a novel of this time, this work is perfect if you’re looking for something a little more unconventional than a typical ingenue caught in a boy-meets-girl. (Eliza Monts)
Jane Eyre is the perfect gothic novel to get your teeth into this autumn, and audiences are spoilt for choice! John Caird and Paul Gordon’s musical adaptation of Charlotte Brontë’s novel is currently having its UK premiere in London, while a separate play is touring. (Tanyel Gumushan)
Da gusto verla: sus imágenes son exuberantes, pictóricas, pero a la vez realistas y delicadas. Recrean la Inglaterra del XVIII con buen gusto, aire clásico, luz natural y detalles de época, pero sin el preciosismo de postal de Cumbres borrascosas, de Emerald Fennell. A su vez, se mantiene fiel al texto original, a diferencia de actualizaciones como la de Greta Gerwig en Mujercitas (La Gaceta de Salamanca) (Translation)
Estéticamente es una obra que colma el ojo del espectador y toma decisiones formales muy interesantes, aunque no alcance las cotas que lograba Andrea Arnold cuando adaptó Cumbres borrascosas.(Alejandro G. Calvo in Sensacine) (Translation)
El razonamiento podría ser, más o menos: si, desde el lado de la tragedia gótico de Emily Brontë, recientemente funcionó la adaptación de Cumbres borrascosas de Emerald Fennell, ¿por qué no probar con el realismo irónico del otro gran monumento del romanticismo? No en balde, la versión en formato serie de Orgullo y prejuicio, el otro gran libro de Austen, ya está ahí también. Dicho y hecho. (...) Se echa en falta, y mucho, la divertida sagacidad del guion de la propia Emma Thompson en la película de 1995 que de manera tan delicada como precisa y extrañada dirigiera Ang Lee. Se agradece, en cambio, que la directora no se deje seducir por los desvaríos a los que se entregó Emerald Fennell en su lectura de Cumbres borrascosas. (Luis Martínez in El Mundo) (Translation)
Foro3D mentions Lilia Hassaine's JE novel. Canal 26 (Argentina) visits Haworth.
by Alessia Silvi MilanUniversitat Autònoma de Barcelona. Facultat de Traducció i d'Interpretació, 2026This study examines the influence of historical, ideological, and cultural contexts on literary translation through a comparative study of different Spanish translations of Wuthering Heights by Emily Brontë. Its main objective is to observe how certain elements of the source text related to violence, morality, power relations, gender, and emotional intensity are reformulated, mitigated, or modified depending on the historical period in which each translation was produced. The study compares excerpts from the translation by Juan G. de Luaces, produced during the Franco regime, with a contemporary translation by Lidia Berrocal Campuzano. The analysis is conducted from a descriptive and sociocultural perspective within Translation Studies, incorporating concepts related to ideology, cultural domestication, Francoist censorship, and literary reception. In this way, the paper aims to demonstrate that literary translations are conditioned not only by political factors but also by cultural and translational conventions that endure over time.
by Martina Naranjo MuñozUniversidad de Salamanca. Facultad de Filología. Grado en Estudios Ingleses, 2026A través del contraste de La Campana de Cristal (1963) de Sylvia Plath y Cumbres Borrascosas (1847) de Emily Brontë, esta disertación analiza cómo las identidades disidentes se ven forzadas a fragmentarse debido a la imposibilidad de ser ellas mismas en una sociedad dictada por roles de género estrictos e inamovibles. De esta manera, Esther Greenwood y Catherine Earnshaw proyectan sus pensamientos disruptivos en dobles ‘locas’, figuras que encarnan la subjetividad que no pueden manifestar públicamente. En consecuencia, esta fragmentación de la identidad acaba llevándolas al colapso mental. Por lo tanto, a través de un análisis detallado de la locura y los espacios liminales tanto como medios evasivos a través de los cuales las heroínas exploran su yo no normativo como instrumentos patriarcales de confinamiento, este trabajo pretende ilustrar las técnicas literarias empleadas por las autoras para transmitir identidades transgresoras a través de la literatura. Por último, al rechazar tanto la maternidad como el matrimonio, las protagonistas adoptan una trayectoria de vida ‘queer’, una elección que pone de manifiesto su aversión hacia las normas establecidas por el patriarcado y revela las estructuras de poder que las sociedades patriarcales construyen para mantener su orden hegemónico.
This week marks 179 years since the first publication of Charlotte Brontë’s Jane Eyre in 1847, something which will be celebrated in Great Britain with little more than a small London theatre production. The occasion may be being noted more enthusiastically in China, where the book has been newly added to the national curriculum for 14- and 15-year-olds, with the strange aim of indoctrinating schoolgirls into becoming compliant brood-mares for the demographic good of the Chinese Communist party. [...]Western commentators have derided the CCP’s actions, mocking their totalitarian and prescriptive attempt, ‘to help [children] establish a value system’ by reading a 200-year-old text and interpolating utterly irrelevant political messages into it. But are 21st-century establishment authorities here in Charlotte Brontë’s original homeland of England really any different?Brontë Parsonage Museum, the registered charity which manages the family’s old rural rectory home, is currently pretending Jane Eyre – and all the sisters’ literary output – is not about love in the time of communism, but love in the time of colonialism. Running until January, the museum has organised a special exhibition, ‘The Colonial Brontës’, trying desperately to link the sisters to the subjugation of Africa. How were they linked to it, though? Did they own shares in sugar-plantations, or have a secret Jamaican slave hidden in the attic? No, explains the museum’s website, they wrote some stories on little bits of paper when they were children [...]When writing their own schoolgirl stories set in the imaginary colonies of the Glass Town Federation, the girls made use of racial stereotypes about its likely inhabitants – such as Charlotte’s disgraceful aspersion that they would probably have black skin: ‘The Chief was quite black and very tall; he had a fierce countenance and the finest eyes I ever saw.’ If you can’t cope with extreme language like this, the Museum website contains the following ‘CONTENT WARNING: This page includes excerpts from written works containing outdated terminology.’ Presumably, that means ‘black’ being written without a capital B.If you are still dubious that a 13-year-old writing a story set in Africa featuring a black man is highly relevant to the sins of British colonialism, the museum’s curators explain how, ‘The 18th and 19th centuries in England were more racially diverse than many audiences realise.’ Heathcliff from Emily Brontë’s Wuthering Heights, for example, is described in the book as ‘a dark-skinned gypsy in aspect’, but the orphan’s mysterious origins in Liverpool, then a major slaving-port, have long led some literary scholars to speculate that he may really have been black or mixed-race. The museum, however, has a different, more demented, theory: maybe he was actually based on Frederick Douglass?Where’s the museum’s evidence? There doesn’t seem to be any.But, if visitors want to know more about the Brontës’ ‘connections’ to slavery, the museum suggests buying the following books from its gift shop: Our Island Stories: Ten Walks Through Rural Britain and Its Hidden History of Empire; The Whole Picture: The Colonial Story of the Art in Our Museums and Why We Need to Talk About It; and Black and British: A Forgotten History by David Olusoga, none of which are about the Brontës at all. When you go to the International Slavery Museum in Liverpool, do you reckon the staff there try to flog you a copy of The Tenant of Wildfell Hall for no reason, or does this kind of thing only go in one direction?Attempts to link the family to slavery know no bounds, as demonstrated by the academic behind the current ‘Colonial Brontës’ exhibition, Professor Corinne Fowler, back in 2017:‘The Brontë sisters’ school was just a few miles from the Dentdale home of a notorious slave-owning family called the Sills. The Brontë sisters knew about the Sills family, who worked more than 30 enslaved Africans on the grounds of their [foreign] estate.’One of Fowler’s previous books is called Green Unpleasant Land: Creative Responses to Rural Britain’s Colonial Connections, and she has previously sat on the ‘Rural Racism’ taskforce, whose remit evidently extended back into the distant past when almost everyone in the English countryside was white. Except Frederick Douglass, obviously.If the Chinese really want to know how to go about twisting the meaning of classic books for naked political ends, they should commission Professor Fowler to set their curriculum. (Steven Tucker)
Life appears to me too short to be spent in nursing animosity or registering wrongs.
If you could only reread one book for the rest of your life, which would it be?The Staying Alive poetry collection by Neil Astley, Jane Eyre by Charlotte Brontë or Tao Te Ching by Laozi – I’d maybe even cheat a little and do The Complete Works Of Shakespeare. [...]Are there any book-to-screen adaptations you’d absolutely love to be part of?Jane Eyre! Which is happening, and I’m unbelievably excited about. (Abby Allen)
The famous Bronte sisters’ links to Co Down are to be brought to life in the former church near Rathfriland where their clergyman father preached as a young man. (Claire Dickson)
02. The Tenant of Wildfell Hall by Anne BrontëEven more shocking than her sister’s work, Jane Eyre, Anne Brontë cemented herself in literary history with this novel about a single mother’s surprising independence among Victorian society. You’ll love this book’s equally moody setting in a mansion that seems to take a life of its own if you’re already a fan of Austen’s Northanger Abbey. And with quite an unusual main character and subject matter for a novel of this time, this work is perfect if you’re looking for something a little more unconventional than a typical ingenue caught in a boy-meets-girl. (Eliza Monts)
'Emily' (2022)One of the most underrated period dramas currently available to stream on Netflix, Emily follows the brief yet breathtaking life of English writer Emily Brontë as she fights societal expectations on the journey to writing her masterpiece, Wuthering Heights. Emma Mackey stars as the titular character, for which she earned a nomination for Best Lead Performance at the 2022 British Independent Film Awards.A stunning portrayal of one of the most important and all-too-short lives in literary history, Emily will provide the perfect historical escape this weekend. The film was Australian actress Frances O'Connor’s directorial debut and starred the likes of Amelia Gething, Alexandra Dowling, Fionn Whitehead, and Oliver Jackson-Cohen alongside Mackey. Don't miss Emily on Netflix. (Jake Hodges)
However, the film’s brilliantly melodramatic title doesn’t tell the whole story. Wuthering Heights: House of the Damned is a po-faced reimagining of the story as a supernatural slasher, picking and choosing bits of the story to put the novel’s overarching narrator Mr Lockwood, through hell. If only it was Edgar Allan Poe-faced. While the idea’s intriguing, playing it entirely straight leaves it wanting.The new owner of Thrushcross Grange, Lockwood (Ross Townsend-Green), has an unfortunate first meeting with the owner of Wuthering Heights, Heathcliff (Sky Cheema), and through a series of unfortunate incidents (missing horse, dog bite, classic moors fever) he ends up spending more and more time there overnight. It’s a dreamy if window-breaking encounter with a phantom wrapped in billowing veils that piques his interest. But the increasingly delirious Lockwood’s attempt to discover the recent history of the Heights and the fate of Heathcliff’s son soon merges with bloody visions of the past, and more frequent appearance of a mysterious woman in grey…Remember the craze for zombie parodies of classics? Well now it’s phantoms with a fondness for sprinting behind you whenever you turn around. Terrorised throughout is Townsend-Green’s hapless squire, who really isn’t cut out for buying a large estate on the Moors. The actor really puts his all into it, screaming, sobbing, quaking and putting his foot in it from the moment he rides up—with the air of Gary Oldman’s Dracula swanning around London—to when he ends up… Well, that would be spoiling the extraordinary denouement a long 1 hour 45 minutes later.This Heights is huge—seriously massive—apparently with ghosts in every room, ready for Lockwood to stumble in on. Townsend-Green’s game performance is the only source of amusement in the story’s reframing, which could have been as giddy as Dickens’ A Christmas Carol or an all-out comedy. Ultimately, it struggles under the weight of its ominous, solemn tone and its repeated reliance on ghostly jump scares. You don’t expect Heathcliff to break out in a tap dance, but Cheema, who certainly looks the part across two timelines compared to some castings, has to hit out serious lines one after the other until things go impressively off the rails at the end.There may be a cheer at the fate that befalls Nellie Dean, one of literature’s most infamously unreliable narrators, but many other opportunities are missed. The gruff manservant Joseph’s constant exasperation that Lockwood has to stay yet another night is gold, but not capitalised on at all.Just as Fennell’s take chose the themes it could concentrate on (sex and then a bit more sex), so writer Liana Failla and director Becca Hirani have a particular focus. They find a way to tie up the book’s themes, albeit with a big dose of ocullty-weird, and it is a pleasant change to see an ‘adaptation’ take interest in the mirroring second generation of the novel’s characters that so often don’t make it to film.‘You can catch anything on the Moors, sir’, opines Hareton (like most other characters, a little off from their traditional representation) to Lockwood at one point. There’s no danger catching a lick of pace, sadly. You can see the strong bones of the idea, where Failla ties neatly into Brontë’s plot points and (not to everyone’s taste) takes definitive advantage of some of the book’s most enigmatic scenes. It’s brilliantly shameless how a little extra slant of horror is added at both ends of the ol’ devil’s life. If only, though, the treatment had a bit of ingenuity in its scares and humour.Sorry, Heathcliff, but it’s not an essential sacrifice this Halloween. (Matt Goddard)
Speaking of the tangible romantic experience, an adaptation that manages to subvert this was Wuthering Heights. Although the original was not written with romance as its main plot; Fennell’s adaptation gets away with unconventional scenes and sexual exploits as the reimagined setting and costumes presents a theatricality that borders on avant-guard.Unlike in The Deal, the characters become less human than they were in the source material. This ends up making the eccentric promiscuity digestible as they are no longer the characters from the book. The movie was controversial, which means you either loved it or hated it, and lovers of Brontë’s original work usually align with the latter. [...]Romance adaptations are horrendously difficult to perfect as directors must observe the current climate and sacrifice elements of the book that no longer reflect healthy boundaries. Depending on how they are directed, and whether they make it over the top, such as in Wuthering Heights to justify it, or remove the dubious content entirely, like in Off Campus, the product will not satisfy all those who consume it. (Lottie Latimer)
West Lane Baptist Church, HaworthOctober 24, 10am - 6pmVoices from a Yorkshire MoorFrom the Brontës to The Book of Bogs, moors, bogs and marshes have given rise to some of our finest writing. This is a day to revel in those words...The audience are invited not just to listen but to respond by creating their own Book of Bogs: a handmade pamphlet containing words, drawings and found materials. Afterwards, participants will be invited to share their work through an open mic.Events run from 10am: you can join us for all or part of the day.Expect a friendly and accessible event where you can be as active and creative as the performers. There's also a warm welcome to audience members who prefer to sit quietly and listen!10am-12pm: Voices from the moor: a lively morning workshop with Clare Shaw and Anna Chilvers.1-4pm: readings from the UK and Ireland’s best contemporary eco-poets: Jane Clarke, Michael Malay, David Morley, Harriet Tarlo, Victoria Gatehouse.4-5pm: Open mic5pm: Big Bog DiscoAnna Chilvers (Bluemoose) and Clare Shaw (Bloodaxe) are popular writers and facilitators who have authored and edited 14 books between them - including poetry, novels and creative non-fiction. In 2025, they co-edited “The Book of Bogs: Stories of a Yorkshire Moor and other Peatlands” (Little Toller), featuring over 43 leading writers of ecology, nature and place. Book of Bogs is a model for what happens when poetry and ecology meet — when words help us look more closely at the natural world, feel it more deeply — and take action to defend it.
Purists will be pleased to hear that Reid’s adaptation [of Sense and Sensibility] is a fairly faithful one – Emerald Fennell’s Wuthering Heights this is not. (Katie Cunningham)
Sélectionnée dans la première liste du prix Goncourt, JE de Lilia Hassaine propose une relecture post Metoo de Jane Eyre.Comme l’avait fait l’autrice britannique Jean Rhys dans La prisonnière des Sargasses il y a tout juste soixante ans, la journaliste s’intéresse à « la folle » du cultissime roman de Charlotte Brontë, cette première femme que Rochester cache dans son grenier et qui va l’empêcher d’épouser Jane.Dans ce quatrième roman au style très victorien, elle nous embarque avec elle dans la triste histoire de la belle Jamaïcaine.Chez Lilia Hassaine, si Antoinette Cosway (rebaptisée par son mari Bertha pour convenir à son nouvel environnement anglais) a perdu la raison, c’est à cause de Rochester, pervers narcissique, prenant plaisir à détruire l’être aimé, à observer son anéantissement, à souffler le chaud et le froid, à sans cesse manipuler.Le récit explore les rapports de pouvoir. Le rapport homme-femme bien sûr, mais également celui sur lequel reposait l’esclavagisme durant cette première moitié du XIXe siècle quand se multipliaient les révoltes, mais où le racisme perdurait malgré les fraîches lois abolitionnistes.Comme cet extrait cité d’un dictionnaire médical de 1812 : « Le Créole a beaucoup de facilité pour tout, mais de génie pour rien »… (A. W.) (Translation)
One of Carson’s most famous literary works is “The Glass Essay,” a long-form lyric poem that blends a personal narrative of heartbreak with critical commentary on Emily Brontë. Carson intertwines a constructed narrative of a devastating breakup with Emily Brontë’s oeuvre and life. In doing so, Carson incorporates critical analyses of Brontë’s life and observations from her sister, Charlotte, to comment on heartbreak, isolation, and literature as an emotional outlet. [...]Brontë is intertwined with the speaker’s grief in a way that at first seems out of place—how does this author from the 19th century relate to the speaker’s breakup? Eventually, readers understand that the speaker identifies with Brontë, feeling that her liminality and isolation after being abandoned are turning her into Emily Brontë. At the end of the poem’s second section, “SHE,” the speaker asks: “What meat is it, Emily, that we need?”The speaker does not just allude to Brontë as a kindred spirit, however. The poem’s unique perspective—what the Nobel committee calls “bold” and “inventive”—comes from Carson’s combination of this intensely personal narrative with literary analysis. The speaker quotes unnamed critics (likely inventions by Carson to represent a general argument within the literary world rather than any one scholar), using interpretations of Brontë and her life to deepen her self-understanding or refute a claim with her own experience. In one stanza, a disparaging critic wonders why Brontë longed for liberty when her home life was satisfactory. The speaker responds that imprisonment takes many forms and describes her own childhood, showing how she reads Brontë’s poetry through her own life. (Eden Bridge-Hayes)
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Music by Paul GordonLyrics by John CairdStage Director... Samantha Mishima FriedmanConductor and Co-Music Director ... Richard KosowskiCo-Music Director ... Timothy McReynoldsWith Anna Grace Martin, William Little.October 22 to October 24, 7:30 PMTownsend School of Music -- Fickling Hall, Macon, GABe swept away in this romantic adaptation of Jane Brontë’s novel, Jane Eyre. Follow the story of our independent and resilient heroine as she leaves the cruel world of the orphanage to become the governess at Thornfield Hall. At Thornfield, she falls in love with her brooding employer, Edward Rochester. Jane uncovers Rochester’s dark secrets and must decide what is best for her own interests. Will their passions bring them together or will Jane be left alone?
Jane speaks her mind,” said Samantha Mishima Freidman, D.M.A., assistant professor of voice and director of opera. “She doesn’t let anyone get away with anything. She’s not afraid to tell people they’re wrong, which at the time was kind of a big deal, and she was sort of ostracized for it. Mercer has some pretty big personalities, and we have some ladies in the opera program who are strong and amazing, and I thought (this show) would fit really well with the people we had.”In addition, “Jane Eyre” is a particularly fitting production for the fall season.“It’s a perfect October show. It’s got a sort of spooky aesthetic to it,” said William Little, MUS ’28, who plays Rochester. “All of us have worked really hard. The songs are just gorgeous. We’re starting to sound really great, and I’m very excited to put it on for people.”Anna Grace Martin, MUS ’27, plays Jane Eyre and found the role to be a welcomed challenge.“Jane Eyre is a very complex character. In a single scene, she can go through all the stages of grief. Being able to kind of feel all of her joy and pain has really been a challenge, but it’s been really rewarding to be able to work through some of her inner workings,” said Martin, a music education major.Friedman said she was surprised at how much the students stepped up during rehearsals.“Anytime I have asked them to get to the next level, to push themselves a little bit further, they have pushed themselves even further than that,” she said. “So every day it’s exciting to come back and to see what new ideas they bring.”Friedman is assisted in the production by co-music directors Tim McReynolds, D.M.A., Helen Wall Rich Associate Professor of Collaborative Piano, and Richard Kosowski, D.M.A., chair of vocal studies and professor of music. Martin said it’s been rewarding to work with these faculty and her fellow cast members.“They’ve been so understanding with all of the very complex aspects of the character and helping me think through how she thinks,” she said.Friedman hopes the audience feels the message of forgiveness in the show.“The musical does a really good job explaining that forgiveness and tying it throughout. It’s one of the hardest things to do in your life, to truly forgive and let go, and I think that if people see that, they will leave changed in the best way possible,” Friedman said. (Isaac Linen)
“Glass, Irony & God”The six pieces in Carson’s second collection are clear, sharp, splintered, and luminous. It includes her single most arresting poem, “The Glass Essay,” a chilly, desolate account of the end of a love affair, told by a speaker who believes that she is “turning into Emily Brontë / my lonely life around me like a moor, / my ungainly body stumping over the mud flats with a look of transformation / that dies when I come in the kitchen door.” The poem’s anguished meditations on love’s savagery and isolation are designed to draw blood. (Merve Emre)
Brontë Parsonage in HaworthLiterary types, you need to head to Haworth. Here, with stunning views of the Yorkshire moors, is the home where the Brontë sisters – Charlotte, Emily and Anne – wrote their novels including Jane Eyre and The Tenant of Wildfell Hall. It’s now a museum displaying the world’s largest collection of bits and bobs from their lives. Think: handwritten manuscripts and first drafts of novels, but also the more delightfully mundane, such as pebbles collected by Anne, locks of the family’s hair, and Emily’s christening mug.The chance to journey back in time and pretend that you, too, are a Brontë sister, doesn’t end with the house and museum. The Brontë Society, which looks after the parsonage, will happily hand over maps for walks among the moors, so you can quite literally follow in their footsteps. Walk into Haworth town to find the Brontës’ birthplace and the church where the family, except for Anne, is buried. (Ellen C Scott)
One of the most memorable moments from my senior semester of college was seeing Emerald Fennel’s “Wuthering Heights.” I watched it on Valentine’s Day at Silverspot Cinema with my sister and six of her friends, and I liked it way more than I should have.Ever since I was little, I remember hearing, “The book is always better than the movie.” Up until I saw “Wuthering Heights,” I used to believe it too.When I read Emily Brontë’s “Wuthering Heights” my sophomore summer, I remember feeling underwhelmed. In my Apple Books review, I gave it three stars; I had hoped that book would shake my soul, and it did not. That was really sad for me, given how much I had enjoyed her sisters’ works — Charlotte Brontë’s “Jane Eyre” and Anne Brontë’s “The Tenant of Wildfell Hall.”The week after watching the newest adaptation of Wuthering Heights was really stressful for me. It pained me to admit to all my friends that I had enjoyed the 2026 film more than the 19th century tome. I mean, I really loved it. I was sobbing so hard that people were turning around and pointing. I wasn’t the only one — a couple other girls in my row were similarly shaken. I won’t name names, but you know who you are.When it came out, the “Wuthering Heights” adaptation was very controversial. Some described it as “hollow,” while others said it was worse for Emily Brontë than tuberculosis. Most critics had at least one thing to say: it’s nothing like the book.The thing is, definitives are hard. Saying a book is “always” better than the movie is both false and highly unproductive. It’s a kind of snobbery; people who say this either want to feel smart, or they want to make you feel stupid. To me, preferences and absolutes should not be allowed in the same room. [...]After watching “Wuthering Heights,” I went around to all my friends saying it was probably the best movie I’d ever watched and I really believed it at the time. Now, I see that my reaction had a lot to do with how my life looked last spring. I’m putting off rewatching it, because I’m scared I won’t like it as much the second time.Knowing our preferences aren’t fixed or absolute, it can be hard to make choices. How can you know what you’ll want in three months? 10 years? You’re asked to decide things now which are permanent — even when you know your preferences are fleeting. (Anna Garziera)
Cathy and Heathcliff from Wuthering HeightsMargot Robbie and Jacob Elordi have made doomed romance look extraordinarily glamorous in Emerald Fennell’s Wuthering Heights. Think extravagant period gowns, romantic corsetry, dark tailoring and a suitably brooding expression. The perfect couples costume for those who appreciate a little gothic drama, and a thoroughly dysfunctional love story.
Fielding's eclectic collection of jumpers has become a staple of the beloved Channel 4 baking show, and in Tuesday night's episode (October 20) he rocked a blue knit depicting a series of women in red dresses dancing around the moors.The design is by Australian-based label Wah-Wah, as part of its collaboration with award-winning artist Tara Booth, in homage to musical icon Kate Bush.Noel has a history of paying tribute to the British singer, whose debut single 'Wuthering Heights' – inspired by the Emily Brontë novel of the same name, which was of course also adapted for the big screen this year – topped the UK chart in 1978, when the song-writer was just 19 years old.As part of the BBC's Let's Dance for Comic Relief, which aired back in 2011, Noel Fielding took to the stage to perform his own rendition of Kate Bush's hit song, referencing her iconic music video – more specifically, the second version, which saw the singer wearing the floaty red dress, dancing among woodland. (Laura Jane Turner)
De La Bête aux Fauvettes, l’album dessine un cheminement très personnel. Il débute dans un monde qui heurte le poète, traverse la mélancolie et le temps, avant de trouver dans la poésie une forme de refuge. Éric Cazorla y évoque également Emily Brontë et pose, avec Le Dogme, les valeurs qui nourrissent son écriture. "Cet album de poésies est un dogme où je liste les valeurs que j’épouse et celles que je délaisse", explique-t-il. (Translation)
Unless explicitly said
